Sentences with phrase «viewers who»

«The World of Wakanda» featurette will also satisfy curious viewers who want more information about Black Panther's ties to real - life African customs and culture, a topic we covered extensively in our interview with Panther costume designer Ruth Carter.

Insidious is recommended only for the most easily - frightened of viewers who go to horror movies solely so they can have their significant others jump in their seats and grab them out of the sudden surprises, or if they are alone, to crap their own pants.

But an evening's stop at this monstrous destination may still be worth the ticket price for older family viewers who don't suffer from ghoul - induced nightmares.

Viewers who know Stanton's extensive body of work — including «Paris, Texas» (one of his rare leading roles), the original «Repo Man,» «Wild at Heart» and «Pat Garrett and Billy the Kid» (and other Westerns)-- will relish spotting references.

Outside of a few stylish visual touches by director Wan, some solid cinematography by John R. Leonetti (The Perfect Man, Honey), and an apt score from Charlie Clouser (Death Sentence, Resident Evil: Extinction), Dead Silence doesn't have much to offer to viewers who aren't weirded out by such things as sinister looking dolls and «jack - in - the - box» moments in which characters must slowly reach out to reveal what's hidden under blankets in order to see what scary thing lies underneath.

You could plausibly go further and suggest that the way the film reinvents PT Barnum — by all accounts a nasty, racist piece of work who exploited his workers without any qualms — as a beaming champion of minorities and misfits, might chime with viewers who wish to see good in men, and find precious little of it around in today's #MeToo landscape.

What's interesting, and sort of charming, is that it is likely that Showman is drawing in not only new audiences curious to see what all the fuss is about, but repeat viewers who don't care about the film's formal problems and who are — presumably — turning up for the hits and the kitsch factor.

Viewers who were anxious to see Tony Leung Chiu - wai were worried that the film would never be released and joked that it was «missing for a generation».

Their depiction of the dangers inside a B - 24 will stun even viewers who've already devoured Laura Hillenbrand's compulsively involving and insightful biography of World War II bombardier Louis Zamperini.

I'm glad to own both versions of both films — I think the supplements on the MOC discs are more critical, scholarly and satisfying — but I'm also glad that viewers who don't have region free players can have access to high - def versions of these essential movies.

Also straying from that site's top demographic, $ 5 a Day is aimed at adult viewers who are willing to consider things like mortality and family while also appreciating a good room service swindle.

It has some very frightening scenes, especially for viewers who are afraid of snakes and spiders.

Upon learning the title of Zach Braff's latest opus - Wish I Was Here, not You, not He, not She, not They, not We, but himself - viewers who had previously been subjected to Garden State and The Last Kiss most likely rolled their eyes and said «Here we go again.»

Many viewers who jump on say they can see / hear whatever is showing... but when I look back on the archives and past broadcasts, the quality of the video is somewhat muddy.

I only mention this because there are younger viewers who might be embarrassed watching the flick with their parents, or vice versa, so you can't just watch the film with just anyone.

The film is almost certainly too much for very young audiences, but viewers who revel in slightly darker fare and those with fond»80s childhood memories of the film will enjoy and should be pleased with this fine DVD release, which rises above the out - of - print previous Anchor Bay release.

But a fantastic cast doing fine work can't make this feel - good hokum believable, and most viewers who walk away satisfied are those who'd happily watch any new Plummer vehicle, just to celebrate the actor's enduring vitality and charm.

Viewers who think Carell's spot - on performance goes overboard should revisit footage of Riggs himself, whose showmanship is glimpsed in the end credits.

Viewers who are happy to be put through the wringer like this will no doubt love exhausting a box of tissues in the process.

A similar extra-textual delight may arise in viewers who remember Domhnall Gleeson's role in Black Mirror.

And viewers who know the biblical story will enjoy seeing it re-enacted in such an expansive way, especially as it plays up the conflict between pagans and true believers.

If she's bewildered, so will be viewers who are skeptical of Burshtein's view of the proper female role.

Perhaps viewers who like survival dramas (the ratings for ABC's similarly premised «Lost» might indicate there are many people who do) will find moments of interest, but Flight of the Phoenix offers very little above standard plot elements and a very predictable turn of events.

Very much an «Avengers» movie in scope and ambition if not title (the conspicuous absence of Thor and Hulk notwithstanding), this chronicle of an epic clash between two equally noble factions, led by Captain America and Iron Man, proves as remarkable for its dramatic coherence and thematic unity as for its dizzyingly inventive action sequences; viewers who have grown weary of seeing cities blow up ad nauseam will scarcely believe their luck at the relative restraint and ingenuity on display.

The actress appeared on Norton's Friday night chat show alongside her Burnt co-star Bradley Cooper, but was slammed by eagle - eyed viewers who noticed that she was the only guest who wasn't wearing a poppy.

So this version of the biblical story will only appeal to viewers who have never seen a better one.

Great music and performances are likely enough to please most viewers who enter into a biopic about a famous musical act, but they're not necessarily enough to take things to the next level of great films in and of themselves.

A film that can be read by viewers who approach it in good faith in a manner that is counter to its intentions is simply flawed storytelling.

It's a series of constant distractions, some amusing, some horrific, which writer - director Stephen Sommers (Van Helsing, Deep Rising) delivers at a level where it should have no problem appealing to younger viewers who can handle a few gory moments.

A clear effort to be America's new «Parenthood,» this ensemble drama should tick a lot of boxes for viewers who don't want everything to be so high concept that they can't see any of themselves in the characters they watch.

The cliff - hanging finale however hints at new directions for the show to take and this is exactly Lost's strength: how it constantly reinvents itself and brings in new characters and adds yet another story layer on top of things - even it is at the risk of confusing viewers who might inadvertently skip an episode or two.

How can depictions like this mislead viewers who may travel to those areas of the world?

The Dolby Digital 5.1 track lends tight bass support to Badly Drawn Boy's acoustic score; dialogue is razor sharp, which should decrease the number of complaints from viewers who experience difficulty deciphering the English accents.

This has led to many recent societal embarrassments, across media forms devoured by viewers who want to keep analytical challenging out of their popular entertainment, but it especially shines in the unfortunate backlash against that upcoming, female - led «Ghostbusters» movie.

- The production team decided to call the Bloomington townies «cutters» because they felt the actual local nickname («stoners» or «stonies») would draw a parallel to drug references for viewers who were not raised in the area.

For viewers who embraced the first season as a gritty crime drama with a predominantly black cast, however, the pivot in season two to the travails of white dockworkers was a jolt, even as it pulled in new viewers.

Collins also finished the letter by thanking all the readers and viewers who «accompanied Katniss on her journey.»

Finally, to all the readers and viewers who have accompanied Katniss on her journey, thank you for playing a role in The Hunger Games, you are truly a vital part of the experience.

There will no doubt be some viewers who will be disappointed that this sequel has been given a PG - 13 rating, given that most of the jokes rely on raunchiness for their hilarity quotient.

There are a few twists and turns that will satisfy young viewers who've not seen or read as many of these stories as I have, but they're pretty clear to the older set (i.e., any of us older than 25).

For viewers who want to experience the so - called «faith - based» film industry's unique combination of wish - fulfillment fantasy, deranged soap opera, and amateurishness, this is the movie to see.

However, those viewers who prefer more provocative sci - fi had best stay clear.

Giving flesh and blood to the idea that life goes on even when it no longer seems worth living, «Manchester» may be too sprawling a vision for all arthouse tastes, but Lonergan's many champions are scarcely the only viewers who will be stirred by this superbly grounded and acted third effort.»

The hectoring Funny Games sought to rebuke viewers who willingly consumed its story of smug sadism, and Code Unknown's assertion that the audience is unable to fully grasp Haneke's meaning could be read as another example of his didacticism, but the latter film is more earnest and rigorous.

Blumhouse's latest release, Truth or Dare, features a little tease after the credits for viewers who stick around.

Blumhouse's Truth or Dare features a little tease after the credits for viewers who stick around, so we explore what it could mean for a sequel.

Beautiful Thing thus remains a curious theatrical one - off, and though it's among the more gentle entries in the queer canon, its impact on gay viewers who came of age in the 1990s is surely vast: it was the main feature in the Legacy section of last year's NewFest, and it's rare that I've spoken about it to someone who hasn't broken out into a smile at the mention of its title.

Viewers who want more journalistic details are urged to rent Rob Epstein and Richard Schmiechen's great documentary The Times of Harvey Milk (1984), though Van Sant lifts plenty of vintage footage from that and other sources to give the movie lots of 1970s flavor (and to save money on set dressing).

I am one of the few who didn't read the book, but Flynn reported she has changed the ending of the film to keep interest up in viewers who have already read the novel.

There is a shortage of surprises for viewers who have seen more than a few movies (animated or not) before, but the light and laid - back atmosphere (in spite of context that's supposed to be dramatic) yields a fair amount of laughs and a generally good time, in a breezy take on the British comedy tradition.